Feature

Interview: Kieran Ho on purpose-driven and values-led fashion

by Telum Media

6 May 2026 2:32 AM

8 mins read

Each year, the Met Gala captures global attention through celebrity fashion and viral red-carpet moments. Yet for comms professionals, the event represents far more than a showcase of style. It has become a live demonstration of how brands communicate purpose, cultural relevance, and values under intense public scrutiny.

With the 2026 Met Gala currently underway, Telum Media spoke with Kieran Ho, Senior Vice President of PURPLE in Hong Kong, as he shares his APAC-rooted insights on how purpose-driven and values-led fashion is redefining fashion communications at cultural events. He touches upon topics such as transparency as a core pillar of luxury fashion and how high-end brands can still remain culturally-grounded and inclusive.

For PR and communications professionals, what makes fashion and events such as the Met Gala such a powerful platform for brands to communicate its purpose, identity, and values?
In the fashion and lifestyle space, the Met Gala is the ultimate "Cultural Super Bowl." At its core, it is a celebrity-driven engine. In today's consumer landscape, celebrities remain the most potent catalysts for marketing impact and any gathering that concentrates this much star power is guaranteed to generate a massive, global media footprint. However, the true power of the Met Gala lies in its ability to foster whimsy and escapism.

A garment is more than just fabric - it gains power through its wearer. While the wearer amplifies a look’s reach, the garment itself can carry immense significance, symbolising heritage,craftsmanship, and even societal shifts. The Met Gala provides a unique stage where fashion houses and icons collaborate to create moments that go beyond mere clothing. It becomes an opportunity for brands to communicate their universe: their legacy, artistry, and vision for the future, all within a single frame.

For brands, these moments are invaluable storytelling tools, transforming a label from a transactional entity into a creator of dreams, inviting audiences to step into their world. In an era of digital saturation, providing that sense of wonder is how a brand cements its identity and values in the collective consciousness.

Consumer expectations have shifted more towards sustainability, ethics, and social positioning. How has the rise of values-driven consumption changed the way communicators craft fashion brand narratives?
The shift toward values-driven consumption has fundamentally rewired how we approach brand narratives. We are moving away from simply communicating the materiality of an object - the fabric, the cut, or the price - and focusing instead on the emotional benefits and the "why" behind the brand.

Today’s consumers prioritise emotional resonance and wellness; they don't just want to look good, but they want to feel good about what they wear. Much like the farm-to-table movement in the food industry, luxury consumers now demand to know the provenance of their purchases. When you are paying top dollar, you want to understand the source and the ethics behind the production.

At PURPLE, we advise clients that transparency is no longer a "nice-to-have" - it is a core pillar of luxury. Communicators must now craft stories that highlight the human element: the artisans, the sustainable supply chains, and the ethical footprint. We are no longer just publicising a product; we are defending a brand’s right to exist in a conscious world.

If a brand cannot articulate its contribution to social or environmental well-being, it risks becoming irrelevant. The narrative has shifted from "what is this made of" to "what does this stand for," and our job is to ensure that answer is both authentic and compelling.

With the Met Gala being such a high visibility event, brands walk a fine line between authentic expression and performative positioning. How can communicators ensure values-led storytelling withstands public scrutiny and feels credible rather than opportunistic?
The distinction between a "fantasy" brand and a "relatable" brand is crucial here. Brands that position themselves as relatable or "of the people" are naturally more prone to scrutiny if their actions feel out of touch or opportunistic. Conversely, fantasy-led brands have more license to push boundaries, provided their storytelling is rooted in deep cultural intelligence.

To ensure credibility, communicators must prioritise rigorous research. Fantasy should never be an excuse for ignorance. We have seen industry-wide cautionary tales where campaigns - such as those involving sensitive imagery or controversial legal references - backfire because they lacked cultural sensitivity. To withstand public scrutiny, a brand's presence at the Met Gala must feel like a natural extension of its long-term values, not a sudden pivot for "clout."

Credibility is built through consistency. If a brand claims to support sustainability, that could be reflected in the custom archival piece they pull out for the red carpet. If they claim to support diversity, that should be reflected in their choice of muse and the creative team behind the look. When the walk matches the talk, the storytelling feels authentic.

In PR, our role is to act as the conscience of the brand, ensuring that every creative choice is vetted against the current social climate to avoid the "performative" trap.

High fashion brands often dominate visibility at the Met Gala through celebrity partnerships, yet luxury can sometimes be perceived as elitist or disconnected from broader audiences. From a comms perspective, how can brands maintain aspiration while remaining culturally grounded, inclusive, and values-led?
It is important to acknowledge that, in the specific context of the Met Gala, the event is not intended for the masses; its very nature is exclusive and aspirational. However, "aspiration" does not have to mean "exclusion." In the modern era, brands maintain relevance by using their platform to champion inclusivity and new talent.

A significant part of this responsibility falls on the celebrity and their stylist. They act as the bridge between the brand and the public. We are seeing a beautiful trend where celebrities use the Met Gala to debut and elevate up-and-coming or emerging designers. By turning the red carpet into a launchpad for new talent rather than just relying on established heritage houses, brands and icons demonstrate that they are culturally grounded and invested in the future of the industry.

Furthermore, while the physical event is exclusive, the digital communication around it must be inclusive. Brands stay grounded by sharing the behind-the-scenes process - the hundreds of hours of labour by diverse artisans - which democratises the craft. By celebrating the humanity behind the luxury, brands can remain aspirational while proving they are values-led. It is about moving from an ivory tower mentality to a shared inspiration model.

The Met Gala generates a large amount of earned media impact within hours. What lessons can PR and communications leaders across industries take from fashion’s ability to turn cultural moments into sustained reputation and relevance?
The primary lesson is the power of the visual and social hook to spark a narrative that lasts far beyond the initial event. Fashion excels at creating thumb-stopping moments that demand immediate attention, but the real magic is in the tail of the coverage. PR leaders in other sectors should observe how fashion brands don't just drop a moment; they seed it weeks in advance and dissect it for months afterward.

Another key takeaway is the importance of cross-pollination. The Met Gala isn't just about clothes; it’s where art, film, music, and social issues collide. Other industries can learn to build relevance by stepping outside their silos and finding cultural tentpoles that allow them to participate in broader conversations.

Finally, fashion teaches us the value of "the second life" of content. A single red-carpet walk is transformed into memes, deep-dive videos, "get the look" tutorials, and various debates. To turn a moment into sustained reputation, communications leaders must create multi-layered stories. Don’t just announce a product; create a cultural artifact that invites interpretation, debate, and sharing. Relevance is maintained not by being the loudest for one hour, but by being the most interesting for the next month.

Looking ahead, what does strategic communications excellence in fashion look like, and how will cultural tentpole events continue to shape how brands build long-term trust and loyalty?
In my view, strategic communications excellence in 2026 and beyond is defined by engagement over broadcasting. The days of one-way PR announcements are over. Excellence now looks like building a community where the brand acts as a curator of culture rather than just a manufacturer of goods.

Cultural tentpole events like the Met Gala serve as the anchors of a brand’s yearly narrative, like what Art Basel does for Hong Kong. They are the moments where a brand proves its cultural currency. However, long-term trust is built in the spaces between these events. A brand that dazzles at the Met Gala but remains silent on social issues or fails on customer experience the rest of the year will lose loyalty.

In the future, I think these tentpole events will be used to demonstrate radical alignment. Every look, every guest, and every caption will be evidence that consumers use to measure a brand’s integrity and relatability. Excellence will be found in those who can balance the spectacle required for the spotlight with the substance required for the long haul.

At PURPLE, we believe that trust is the new luxury, and cultural events are the stage where that trust is either earned or lost.

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Narrative isn't dead, it's moving with the times

Digital culture hasn't killed narrative: our need for stories that make sense of the world endures. Timeless techniques still create opportunities - including in financial communications - and the greater power that technology gives us also creates greater responsibility.

We like reading at Ashbury, which delights me because I've always believed that the best communicators are also people who read widely and regularly. Advisers and writers need to consume much more than news; they also need to be learning about influence, engagement, and meaning in the broadest sense through immersion in culture in all its forms.

So I was intrigued when a colleague mentioned in the office that she had read a book called The Crisis of Narration by the Korean-German philosopher, Byung-Chul Han, and I decided to read it. Han argues that what he calls "Phono Sapiens" has lost the ability to create narratives that connect people and give meaning to the world.

It's hard to disagree with the notion that rich narratives have declined in our screen-addicted society. Many of us prefer curating our image on social media to telling, or listening to, a real narrative. I'm sure fewer of us have the attention span to listen to a long tale than in the days of ancient Greece, for example, when teams of performers would recite the whole of the Iliad and the Odyssey from memory. Some academics think that the Iliad alone would have been performed over three nights in sessions of four to six hours each.

Homo Fabularum

That doesn't mean narrative is dead, though, or that good narratives have lost their power. Whether we like it or not, we still need their structure to make sense of reality. Or, as Han puts it, "turning being-in-the-world to being-at-home-in-the-world." While we may be addicted to being Phono Sapiens, I think that we're frustrated Homo Fabularum, or story people. Real, deep, and fulfilling stories are what we're looking for - but rarely find - when we're scrolling.

Han thinks that real narratives are quite distinct from mere storytelling, which he sees as a tawdry, superficial, and commercialised activity.

"Through storytelling, capitalism appropriates the narrative and submits it to consumption. Storytelling produces narratives in a consumable form. It charges products with emotion. It promises unique experiences. We buy, sell, and consume narratives and emotions. Stories sell. Storytelling is storyselling."

I think Han is dead right in one way here, but is also ignoring one colossally important fact that makes his distinction between narratives and stories meaningless.

He's right that stories sell. They always have and they always will. Our minds are designed to hold on to stories and use them as an interpretive key to more complex realities. Philosophy and psychology may seem distant from everyday financial communications, but they are not. Storytelling is in fact essential to commercial influence. Let me give you some simple examples.

I listened recently to Rwandan officials talking to prospective investors about the new Formula One circuit they are building near Kigali for the African Grand Prix. There's a planned luxury hotel that will look out over the track. You'll be able to look out over it from the hotel's infinity pool. Because of the area's landscape - rolling hills around a lake - you will have the impression while sipping your cocktail in the pool that the Formula One cars are heading straight at you, before they dip down and turn away. It's a lovely, simple story that I'd bet has been repeated by many people who heard it. That story will surely help to attract investment to the project.

A friend who attended a presentation that a world-famous asset management CEO gave to a group of private investors told me how this individual reacted when one investor asked why he'd never heard of the company and what they really did. The CEO replied with something like: "All you really need to know about us is this. From the moment you wake up, you're using assets that we own. The electricity from your kettle comes from power stations we own. We own the cellphone network you use to make calls. We own the railway you use to go to work. If you invest in our fund, you can own them too."

Even well-chosen metaphors are simple stories that stay with audiences as cognitive keys. Another asset management CEO I know introduces her firm - which owns a number of different brands - as the Louis Vuitton of asset management. It always gets a laugh and it's immediately memorable.

Changing conditions

What Han misses, though, is just how much the world has changed since communities were held together by narratives told by firesides and charged with mysteries, gods, and otherness. There were no brands or multinational corporations in Homer's day (or were there, if you consider the polities, rulers, and pantheons of the time? Answers on a postcard, please). Very few people could read. The technology available for publishing narratives was therefore simple: communication was in person and oral.

Yet these conditions were changing centuries before smartphones arrived, thanks to the movable printing press (around 1440) and its successor technologies: newspapers (1605, depending on what you call a newspaper), radio broadcasts (1906), TV broadcasts (1926), and the Internet (the first website went live in 1990).

Economic structures were transformed by joint-stock companies (since 1553), publicly-traded companies (1602), banks (early 1400s), central banks (late 1600s), and limited liability companies (early 1800s) among many other developments. Printed advertising itself may be a thousand years old: a copper printing plate advertising a Liu's needle shop in Jinan, including a rabbit logo and slogan, dates back to China's Northern Song dynasty (960-1276).

What this meant, first in Europe and then over centuries in the world beyond, was that business became bigger and often more international, brands became more prevalent, and societies became more urbanised.

In 2026, many of us will see dozens, if not hundreds, of advertisements a day. And while research on this is patchy and dated, it's possible that over half of the editorial media coverage we consume has been influenced by public relations professionals. I'd be surprised if it wasn't more in business and finance news.

So Han may be right about the decline of classical narrative, but the fact is that the conditions that supported the kind of communication he valorises have been disappearing for centuries. For better or worse, we storysellers have replaced the bards. We intermediate a big part of what counts as narrative in today's world. So what does that mean for us?

Story lessons

First, we shouldn't forget what we can learn from the great traditions of narrative. How did bards manage to hold people's attention night after night for six hours at a time? Strong characters, whether relatable or extraordinary. Dramatic tension. Memorable tropes. Surprises. All these techniques are available to us today.

This is why we do executive profiling and encourage CEOs to develop their presence on LinkedIn. It's why we might juxtapose a bold strategy or idea with the consensus view. It's why we reassure audiences with familiar wording (growth opportunities in Asia, anyone?). It's why we love stories about 150-year-old banks launching products based on cutting-edge technology. The scene changes and the centuries roll past, but a lot about narrative remains the same. That's hardly surprising: channels and formats may change, but our neurological make-up and essential psychology don't.

Second, we shouldn't lose sight of the power that comes from creating an image in the mind's eye. Stories that can do this stay with people, like the racetrack and the cars heading straight into the infinity pool, or being the Louis Vuitton of asset management.

Finally, companies with long histories also have a particular advantage in fulfilling the traditional purpose of narrative, which is to give people a hold on the world. When any organisation has been around for centuries, its particular story maps onto a recognisable arc of history more generally. It can be a constant over generations, part of a shared patrimony. And longevity itself can acquire an aura: if a company has been in business for so long, there must be a reason for it. Long histories can have drawbacks too, but on balance they are invaluable reputational assets.

Power and responsibility

We should recognise that intermediating reality to audiences is a serious responsibility. Communicators' duty to act responsibly has only increased along with our relative power. Narratives used to take years to spread, constrained by the tyranny of dangerous seas, bad roads, and illiteracy. Abundant data and the analytical power of artificial intelligence (AI) mean that we can now be more targeted, more relevant, and more influential than ever before, while achieving impact in seconds.

If we're honest, communicators have not been very consistent in acting with integrity throughout history. Too many have succumbed to the temptation to use the power that comes with creating narrative to mislead and manipulate others. Today's data- and AI-enabled communicators need to do better, for all our sakes.

I'm confident that the author of The Crisis of Narration would dismiss the idea of responsible storyselling in financial communications as an impossibility. Han gives the impression that we humans are powerless to resist the way that digitalisation is reducing us and robbing us of meaning. I think he's seriously underestimating people's ability to create narrative and the extent to which we continue to seek out real narrative in spite of digitalisation. And I think he's underestimating the immutability of narrative power, and its ability to transcend new channels and formats.

Smartphones and social media aren't likely to be the final word in the way we communicate in the financial context or any other. New forms and mechanisms will emerge - and I see no reason why narrative won't adapt to these too.

Narrative isn't in crisis; it's just moving with the times. That's in its nature because narrative is deep in ours. Financial communicators need to grasp this, make intentional use of techniques developed over millennia and sell stories responsibly.

Key takeaways

Narrative is adapting, not disappearing. Channels and habits change, but people still seek stories that connect them and help them make sense of the world.
Traditional storytelling techniques still work. Strong characters, dramatic tension, familiar tropes, and surprises remain valuable tools for corporate communicators.
Make complex ideas memorable. Vivid mental images and simple, relatable examples help audiences understand, retain, and share a story.
Put organisational history to work. A long history can connect a company to a shared past, offering continuity and strengthening its reputation.
Greater influence demands greater responsibility. Data and artificial intelligence increase the speed and precision of communication, making integrity and the avoidance of manipulation more important than ever.

Adam Harper founded Ashbury in January 2020. He was previously Head of Communications for Greater China at HSBC, where he was also Regional Head of Communications for Global Banking and Markets, Asia-Pacific.

Before joining HSBC, Adam was a Vice President in Credit Suisse's Asia-Pacific Corporate Communications team and Asia Editor at EuroWeek. He has worked in Asia since 2004 and is a graduate of the University of Cambridge.

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